魏晋 Wei-Jin · 诗 Poem
杂诗·其一
Miscellaneous Poems (I)
漫漫秋夜长，烈烈北风凉。
辗转不能寐，披衣起彷徨。
彷徨忽已久，白露沾我裳。
俯视清水波，仰看明月光。
天汉回西流，三五正纵横。
草虫鸣何悲，孤雁独南翔。
郁郁多悲思，绵绵思故乡。
愿飞安得翼，欲济河无梁。
向风长叹息，断绝我中肠。
The fierce north wind is cool.
Tossing, I cannot sleep;
I wrap my robe and rise to wander.
Wandering, suddenly long already,
White dew wets my clothes.
I look down on the clear water's ripples,
And look up at the bright moon's light.
The heavenly river turns, flowing west;
The scattered stars stand in array.
How sorrowful the crickets' cry,
A lone wild goose wings south alone.
Heavy with many a mournful thought,
Endlessly I long for my homeland.
Would I fly — where are the wings?
Would I cross the river — no bridge.
Facing the wind I sigh long,
And my inmost heart is broken.
Meaning
On a long autumn night the poet cannot sleep, rises to wander, and amid the clear water, bright moon, crying crickets, and lone goose feels a deep, hopeless longing for home.
漫漫秋夜漫长，烈烈北风清凉。辗转不能成眠，披衣起身彷徨。彷徨忽已久，白露沾湿我裳。俯视清水波，仰看明月光。银河转向西流，三五星辰纵横。草虫鸣声何悲，孤雁独向南翔。郁郁多悲思，绵绵思念故乡。愿飞哪得双翼，欲渡河却无桥梁。向风长叹息，断绝我中肠。
Appreciation
The first six lines write the state of sleeplessness: 'tossing,' 'wandering,' 'white dew wets my clothes' layer the loneliness. The middle six lines spread the autumn-night scene with 'look down,' 'look up,' 'heavenly river,' 'lone goose' — every scene is sorrowful. It ends with the two hopeless wishes 'would I fly — where are the wings' and 'would I cross — no bridge,' writing the urgency of homesickness and the severing of the road home. Cao Pi was an emperor yet his poetry is often gentle; this piece writes a traveler's lonely grief with delicate brush, lingering and plaintive, opening the way for later palace-style and boudoir autumn-longing poems.
【白话串讲】 “漫漫秋夜长，烈烈北风凉”——曹丕写秋夜：辗转不能寐。“俯视清水波，仰看明月光”——“草虫鸣何悲，孤雁独南翔”——“绵绵思故乡”——他思乡。“愿飞安得翼，欲济河无梁”——他想飞回故乡，却没有翅膀。 【意象与手法】前六句写不寐之状，“辗转”“彷徨”“白露沾裳”层层写孤；中六句以“俯视”“仰看”“天汉”“草虫”“孤雁”铺开秋夜之景，景中皆悲；末以“愿飞无翼”“欲济无梁”两个无望的愿望写思乡之切。 【情感与主旨】写秋夜羁旅、深切思乡之悲。曹丕为魏主而诗多婉约，此首以细腻的笔触写游子般的孤愁，缠绵悱恻，开后世宫体、闺怨秋思之先声。 【名句点睛】“愿飞安得翼，欲济河无梁。”——以两个不可能实现的愿望（飞而无翼、渡而无梁）写思归之切与归途之绝，化用《诗经》“谁谓河广，一苇杭之”的反意，悲慨深沉。
Background
Cao Pi (187-226), courtesy Zihuan, was Emperor Wen of Wei, second son of Cao Cao, and a core figure of Jian'an literature, author of the Discourses on Literature. 'Miscellaneous Poems (I)' is a work of sleepless autumn nights and longing for home (or for service away).
《杂诗·其一》为三国魏曹丕所作，是写秋夜不寐、思乡之情的诗。曹丕（187—226），字子桓，沛国谯人，三国魏开国皇帝（魏文帝）、文学家。此诗：漫漫秋夜长，烈烈北风凉。辗转不能寐，披衣起彷徨。彷徨忽已久，白露沾我裳。俯视清水波，仰看明月光。天汉回西流，三五正纵横。草虫鸣何悲，孤雁独南翔。郁郁多悲思，绵绵思故乡。愿飞安得翼，欲济河无梁。向风长叹息，断绝我中肠。全诗写秋夜不寐、思乡之情，是曹丕诗的名篇。
Art
From 'tossing, cannot sleep' to 'looking down and up at the scene' to 'would I fly, no wings,' it moves from form to feeling, from scene to thought; it strings the scene with 'look down,' 'look up,' 'heavenly river,' 'lone goose,' scene sorrowful and feeling sorrowful; it closes on two hopeless wishes, lingering and plaintive.
《杂诗·其一》艺术上以秋夜之景的描摹与思乡之情的深婉见长。全诗二十句，层层写来：首写秋夜不寐——“漫漫秋夜长，烈烈北风凉”写漫漫秋夜长、烈烈北风凉，“辗转不能寐，披衣起彷徨”写辗转不能寐、披衣起彷徨；中写望月怀乡——“俯视清水波，仰看明月光”写俯视清水波、仰看明月光，“天汉回西流，三五正纵横”用天汉之典写天汉回西流、三五正纵横，“草虫鸣何悲，孤雁独南翔”写草虫鸣何悲、孤雁独南翔；末写思乡之情——“郁郁多悲思，绵绵思故乡”写郁郁多悲思、绵绵思故乡，“愿飞安得翼，欲济河无梁”写愿飞安得翼、欲济河无梁，“向风长叹息，断绝我中肠”写向风长叹息、断绝我中肠。全诗以秋夜之景写思乡之情，正是曹丕诗深婉的笔法。
Allusions
'The heavenly river turns, flowing west' writes the autumn-night galaxy shifting. 'The scattered stars' means the third-fifth night or scattered stars. 'Would I cross the river — no bridge' reverses the Shi Jing: 'Who says the river is wide? A single reed will ferry you,' meaning the road home is cut. 'Inmost heart' means the inner mind.
《杂诗·其一》用典在“天汉”“三五”“河无梁”。“天汉”用天汉之典（银河）；“三五”用三五之典（月三五而盈，指三五之月）；“河无梁”用河梁之典（河无桥梁）。全诗以这些典故写秋夜不寐、思乡之情，用典自然而深婉自见，正是曹丕诗的笔法。
Commentary
Pi's poetry is shallow in language yet deep in feeling; both of his 'Miscellaneous Poems' write the grief of sleeplessness. This piece writes sorrow in scene and severance in wish; a Qing reader called it 'lingering and lovable' — a fine work of Wei Wen's five-character, fu-like manner.
《杂诗·其一》是曹丕诗的名篇，也是建安诗中写思乡的代表作。此诗写秋夜不寐、思乡之情，向为论者称道。论者多赏其秋夜之景的描摹与思乡之情的深婉——“漫漫秋夜长，烈烈北风凉”写漫漫秋夜长、烈烈北风凉，深婉之极；“俯视清水波，仰看明月光”写俯视清水波、仰看明月光，更见其清；“草虫鸣何悲，孤雁独南翔”写草虫鸣何悲、孤雁独南翔，尤见其悲；“愿飞安得翼，欲济河无梁”用河梁之典写愿飞安得翼、欲济河无梁，尤见其怅。曹丕为建安三曹之一，其诗以深婉清丽著称，此诗正是其代表——以秋夜之景写思乡之情，正是其诗风。
Prosody
Line by line
漫漫秋夜长，烈烈北风凉。辗转不能寐，披衣起彷徨。
Endless, endless the autumn night is long; fierce, fierce the north wind blows cold. Tossing and turning I cannot sleep; I put on my robe and rise to wander.
漫漫秋夜长，烈烈北风凉。辗转不能寐，披衣起彷徨。
The long autumn night drags on; the north wind blows sharp and cold. I toss and turn, unable to sleep; I dress and rise to pace in the dark.
首写漫漫秋夜长、烈烈北风凉、辗转不能寐、披衣起彷徨，是全诗写秋夜不寐的起点。“漫漫秋夜长，烈烈北风凉”写漫漫秋夜长、烈烈北风凉——“漫漫秋夜长”写秋夜漫漫、何其之长，“烈烈北风凉”写北风烈烈、何其之凉——秋夜漫漫，北风烈凉；“辗转不能寐，披衣起彷徨”写辗转不能寐、披衣起彷徨——“辗转不能寐”写辗转反侧不能入睡，“披衣起彷徨”写披衣而起彷徨——辗转不寐，披衣彷徨。四句写漫漫秋夜长、披衣起彷徨：漫漫秋夜长，烈烈北风凉。辗转不能寐，披衣起彷徨。以“漫漫秋夜长”写秋夜漫漫、夜何其长，以“烈烈北风凉”写北风烈烈、寒气侵人，以“辗转不能寐”写辗转反侧、不能成眠，以“披衣起彷徨”写披衣起坐、彷徨无措，正是曹丕诗写秋夜不寐的起点——秋夜漫漫，披衣彷徨。
These four lines open the poem on an autumn sleepless night, the starting point of Cao Pi's autumn insomnia. Endless, endless the autumn night is long writes the night's length; fierce, fierce the north wind blows cold writes the wind's sharpness. Tossing and turning I cannot sleep writes the sleeplessness; I put on my robe and rise to wander writes the wandering. The four lines together set the scene: long night, sharp wind, no sleep, rising to pace. The doubled adjectives give the night both length and chill; the action of rising and pacing gives the sleeplessness a physical shape. This is the opening of Cao Pi's famous wandering-son poem, establishing the mood before any thought of home is spoken.
俯视清水波，仰看明月光。
Looking down, I see the clear water's ripples; looking up, I see the bright moon's light.
俯视清水波，仰看明月光。
Looking down I watch the clear waves; looking up I gaze at the bright moonlight.
中写俯视清水波、仰看明月光，是全诗写望月怀乡的深化。“俯视清水波”写俯视清水波——“俯视清水波”写低头看清水波光——俯视清水波；“仰看明月光”写仰看明月光——“仰看明月光”写抬头望明月光辉——仰看明月光。二句写俯视清水波、仰看明月光：俯视清水波，仰看明月光。以“俯视清水波”写俯视清波、水光明澈，以“仰看明月光”写仰看明月、月光清辉，正是曹丕诗写望月怀乡的深化——俯视清波，仰看明月。
These two lines deepen the homesickness by moon-gazing. Looking down, I see the clear water's ripples writes the downward gaze; looking up, I see the bright moon's light writes the upward gaze. The two lines form a vertical circuit - down to water, up to moon - the sleepless man's eyes moving between the two reflective surfaces. The water and the moon are both images of clarity and distance; the poet's gaze moves between them without finding rest. This couplet deepens the opening's insomnia into a moon-and-water contemplation, preparing the insect and goose lines that follow.
草虫鸣何悲，孤雁独南翔。
Grass insects sing so mournfully; a lone wild goose flies south alone.
草虫鸣何悲，孤雁独南翔。
How mournfully the grass insects chirp; a lone wild goose wings south by itself.
中写草虫鸣何悲、孤雁独南翔，是全诗写秋景之悲的深化。“草虫鸣何悲”写草虫鸣何悲——“草虫鸣何悲”写草虫鸣声何其悲凉——草虫鸣何悲；“孤雁独南翔”写孤雁独南翔——“孤雁独南翔”写孤雁独自南飞——孤雁独南翔。二句写草虫鸣何悲、孤雁独南翔：草虫鸣何悲，孤雁独南翔。以“草虫鸣何悲”写草虫悲鸣、秋声入耳，以“孤雁独南翔”写孤雁南飞、独翔天末，正是曹丕诗写秋景之悲的深化——草虫悲鸣，孤雁南翔。
These two lines deepen the autumn scenery's grief. Grass insects sing so mournfully writes the insect's sad chirp; a lone wild goose flies south alone writes the solitary goose. The two images - insect and goose, small and large, on the ground and in the sky - both carry the autumn grief: the insect's song is the sound of the season's sadness, the lone goose is the image of the traveler's solitude. The southward flight of the goose points toward home (the south), while the poet is in the north. This couplet converts the previous moon-and-water contemplation into grief, preparing the closing wish for wings and bridge.
愿飞安得翼，欲济河无梁。
Would I fly — where are the wings? Would I cross the river — no bridge — two wishes both severed, writing the urgency of homesickness and the cutting of the road home.
愿飞安得翼，欲济河无梁。
Would I fly - where are the wings? Would I cross the river - there is no bridge.
末用河梁之典写愿飞安得翼、欲济河无梁，是全诗写思乡之怅的归结。“愿飞安得翼”写愿飞安得翼——“愿飞安得翼”写愿飞却哪得翅膀——愿飞安得翼；“欲济河无梁”用河梁之典写欲济河无梁——“欲济河无梁”用河梁之典写想渡河却没有桥梁——欲济河无梁。二句写愿飞安得翼、欲济河无梁：愿飞安得翼，欲济河无梁。以“愿飞安得翼”写愿飞无翼、欲归不能，以“欲济河无梁”用河梁之典写欲渡无梁、思乡难达，正是曹丕诗写思乡之怅的归结——愿飞无翼，欲济无梁。
These two lines close the poem on the longing for home. Would I fly - where are the wings? uses the allusion of wishing-to-fly-without-wings to write the impossibility of return. Would I cross the river - there is no bridge uses the river-bridge allusion to write the river's uncrossed. The two lines together: wish to fly, no wings; wish to cross, no bridge. Both wishes are severed; both roads home are cut. This is the poem's resolution - the longing is stated, the impossibility is stated, and the poem ends. Cao Pi's wandering-son poem closes on this double impossibility, making the homesickness both urgent and unresolvable.
Study
Word focus
Related Reading
Compare this related work with the poem above through theme, imagery, tone, and emotional movement.
曹丕《燕歌行》写秋夜怀人、思妇之情，与本首同为曹丕诗写相思离别。差异在主题：杂诗写秋夜思乡；燕歌行写思妇怀人。一写“乡”之思，一写“人”之怀。两者并读，可见曹丕诗写相思离别的两种主题。
杂诗 Miscellaneous Poem 曹丕 · 同为曹丕杂诗写感慨，一为其一一为同题，皆深婉 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
曹丕《杂诗》同题之作，与本首同为曹丕杂诗写感慨。差异在篇目：本首为杂诗其一；同题另篇。一写“乡”之思，一写“怀”之感。两者并读，可见曹丕杂诗写感慨的两种篇目。
明月何皎皎 How Bright the Moon Shines 古诗十九首 · 同为古诗写望月思乡，一写秋夜不寐一写明月皎皎，皆深婉 Related readingCompare this related work with the poem above through theme, imagery, tone, and emotional movement.
古诗十九首《明月何皎皎》写明月皎皎、思乡不寐，与本首同为古诗写望月思乡。差异在情境：曹丕写秋夜披衣彷徨；明月何皎皎写揽衣起徘徊。一写“夜”之思，一写“月”之思。两者并读，可见古诗写望月思乡的两种情境。